{"id":4663,"date":"2025-07-04T12:17:11","date_gmt":"2025-07-04T12:17:11","guid":{"rendered":"https:\/\/keithwhittle.org\/?p=4663"},"modified":"2026-02-03T03:15:57","modified_gmt":"2026-02-03T03:15:57","slug":"dryden-goodwin","status":"publish","type":"post","link":"https:\/\/keithwhittle.org\/?p=4663","title":{"rendered":"Dryden Goodwin"},"content":{"rendered":"

Dryden Goodwin\u00a0(b. 1971, London) is a contemporary British artist renowned for his intricate explorations of human identity, movement, and perception through\u00a0drawing, video, and photography. His work is characterized by its attention to detail, slow-motion depictions of human figures, and the blending of multiple media to investigate the passage of time and the complexities of human experience.<\/p>\n

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Goodwin\u2019s art often involves close-up observations of the human face, body, and intimate moments, allowing for a deep engagement with subjects often overlooked in daily life. His works merge\u00a0real-time video projections\u00a0with\u00a0detailed, large-scale drawings, creating immersive and emotionally charged environments that explore the boundaries between seeing and experiencing.<\/p>\n

His immersive installation\u00a0Dilate<\/i>\u00a0exemplifies this: a vast, octagonal arrangement of eight projection screens that pulse with light and sound. As viewers step into the center, they become enveloped in a series of panoramic video sequences depicting diverse landscapes\u2014both exterior and interior. These might include expansive sea vistas, clifftop views, the soaring architecture of a cathedral\u2019s nave, or the familiar comforts of home.<\/p>\n

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Through these shifting scenes, Goodwin crafts a rhythmic ebb and flow of expanding and contracting horizons, investigating how our evolving sense of self influences our perception of space and vice versa. Whether gazing at an open landscape, one may feel isolated, liberated, or paralyzed; within the city, one might experience a sense of anonymity, alienation, or distinction; at home, a feeling of safety, confinement, or overwhelm; or in a virtual world, a mixture of empowerment, detachment, or vulnerability. This work plays with the perception of time and space\u2014two recurrent themes in Goodwin’s practice.<\/p>\n<\/div>\n

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Dryden Goodwin’s notable exhibitions include\u00a0Passenger\u00a0<\/i>at Camden Arts Centre, London (2014),\u00a0In the Company of Strangers<\/i>\u00a0at The Whitworth, Manchester (2014), and\u00a0Drawn from the Inside\u00a0<\/i>at The Drawing Room, London (2013). He showcased his work in\u00a0Machine Vision<\/i>\u00a0at Wellcome Collection, London (2012), and\u00a0Self-Portrait<\/i>\u00a0at Ikon Gallery, Birmingham (2011). His exhibition\u00a0Frames of Reference<\/i>\u00a0was held at The Drawing Center, New York (2009), and\u00a0Sightlines\u00a0<\/i>at the Irish Museum of Modern Art, Dublin (2008). Additionally, he presented\u00a0Close-Up<\/i>\u00a0at The New Art Gallery Walsall (2007),\u00a0A New Perspective<\/i>\u00a0at The National Gallery, London (2006), and\u00a0Temporary Conversations<\/i>\u00a0at Tate Britain, London (2004).<\/p>\n

Dilate <\/i>is a\u00a0Film and Video Umbrella Touring Exhibition, commissioned in association with Manchester City Art Gallery.\u00a0Supported by the National Touring Programme of Arts Council England and The Henry Moore Foundation.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Dryden Goodwin\u00a0(b. 1971, London) is a contemporary British artist renowned for his intricate explorations of human identity, movement, and perception through\u00a0drawing, video, and photography. His work is characterized by its attention to detail, slow-motion depictions of human figures, and the blending of multiple media to investigate the passage of time and the complexities of human…<\/p>\nRead More<\/a>","protected":false},"author":1,"featured_media":4651,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-4663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","col-md-4 col-sm-6"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/keithwhittle.org\/wp-content\/uploads\/2025\/07\/2003_inst1.jpg?fit=672%2C448&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4663"}],"version-history":[{"count":7,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663\/revisions"}],"predecessor-version":[{"id":5262,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4663\/revisions\/5262"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/media\/4651"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4663"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4663"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}